By Liu Sing-yu Jesus said, "I am the way, the truth, and the life; no one comes to the Father except through me. - John 14:6 In the history of Western painting, even after the invention of photography, portraits could not be completely replaced. The aesthetics of "reproduction" always attracts the viewer's eyes, between resemblance and unresemblance, because there is no real total reproduction, and only then does the artist have the opportunity to become a spiritual messenger, a state of creation that is at the whim of the mind, forgetting the existence of shackles. Under different cultural contexts, the relationship between portrait and spirit still has its own important interpretation. Liu Yiqing of the Southern Song Dynasty wrote in "The Art of Cunning" in the "New Story of the World" that "the four bodies of Yan Chi are not good at the subtleties, but the transmission of the spirit is in the ajar. In the tradition of painting and calligraphy, "conveyance of the spirit" is not just a description of resemblance or unresemblance, but the meaning beyond words is where "conveyance of the spirit" is ineffable. Luo Zhanpeng has always been a profound researcher and insist on the medium and technique of painting, and the "Strawberry Family" series is a work developed in his early years. The term "Strawberry" was coined by the previous generation to describe the next generation; when Luo used it to name his works, the term "Strawberry" has become the other with the same internal and external appearance. In other words, Luo Zhanpeng must look at himself from his own perspective and see where he stands in the flow of generations. Continuing with the theme of portraits, Luo takes a detour and transforms the nutrients of different cultures to present his series of works "Human Sketches", which are different from each other. This is a series of works that Luo Zhanpeng began to develop during his residency in Berlin and Los Angeles. He was deeply influenced by the flashing, spontaneous and precise graffiti style, with simple and light brushstrokes, and a strong sense of writing in his paintings. The works in this solo exhibition, "Ink and Landmarks", maintain the mastery of black and white, and in the mist and mist of the vast waves, the figurative image of the face is entwined with the fluttering atmosphere, and a new kind of oriental imagery emerges. It may be difficult for the viewer to imagine that this is the work of an artist who has not been trained in ink and wash. From the black of acrylic to the black of ink, Luo Zhanpeng's mastery of the layers of black is remarkable. From splashing, dripping, flying white to breaking brush strokes, the combination with the delicate faces of the characters gives a sense of smoothness and clarity. In addition, Luo Zhanpeng uses homemade primer as white paint, changing the traditional technique of leaving white space, which allows Luo to more freely manipulate the operation of black as white and the sparse spatial relationship. In the series "The Realities of Consciousness", we can see the fusion and juxtaposition of human and animal images, just as the title of the work suggests, between the visible and invisible, the recognizable and unrecognizable of consciousness and reality, more metaphors are hidden in them, just like people drinking water. The portraits in Mo Lan's first exhibition are not only individualistic, but also innovative, as Luo Zhanpeng once said in his self-description that art creation is only a vessel, and what the creator carries in his heart is what he carries in his work. Link: https://artouch.com/views/content-1807.html